RESEARCH - READINGS
When I approach the reading of this book, immediately since the introduction I realize that it will be a precious guide in order to understand the manifold nature of portrait in photography.
There are some initial interesting statements.
There are some initial interesting statements.
Clarke states that ".......as the formal representation of a face or body it (portrait photograph) is , by its very nature, enigmatic. And part of this enigma is embedded in the nature of identity as itself ambiguous...."
(The portrait in photography. I. Clarke, Graham, Published by Reaktion Books Ltd1-5 Midford Place, Tottenham Court Road,London W1P 9HH, UKFirst Published 1992, Introduction, page 1).
However, according to Clarke, the earliest portrait photographs were mirror images of those photographed, maybe because of an initial mentality (reality versus art) or even because portrait photographs were used in official documents, in order to neutrally identify people.
Since its beginnig, portrait photography has been put in connection with portrait painting's rules and styles of representation: still today we refer to Rembrandt when we illuminate subject's face in a definite way.
After all, both portraiting techniques are about representing somebody. But here we find the different approaches.
After all, both portraiting techniques are about representing somebody. But here we find the different approaches.
The painter's approach is enriched by the possibility to represent the subject and add his/her own interpretation through imagination: an imaginary identity, imaginary expression, in an imaginary place.
The photographer's approach is neutralized by the limited use of imagination, reduced to the choice of "real" things like light, props, dresses, background, moment and place.
Nevertheless, portraiting in photography can have a deep influence on what is showed as the identity of the subject. Clarke states that "..The Photograph thus reflects the terms by which the culture itself confers status and meaning on the subject, while the subject as image hovers problematically between exterior and interior identities....".
(The portrait in photography. I. Clarke, Graham, Published by Reaktion Books Ltd1-5 Midford Place, Tottenham Court Road,London W1P 9HH, UKFirst Published 1992, Introduction, page 3).
Clarke's book is a composition of essays by different contributors, and Clarke himself: the entire book revolves on the problematics of identity and the conflictual relationship between realism and interpretation, between hiding and revealing through several works of practitioners of different periods.
This is not an history of portraiting in photography, but all essays give an interesting view on portrait practices and kinds of portraiture through different periods and national traditions.
Nevertheless, portraiting in photography can have a deep influence on what is showed as the identity of the subject. Clarke states that "..The Photograph thus reflects the terms by which the culture itself confers status and meaning on the subject, while the subject as image hovers problematically between exterior and interior identities....".
(The portrait in photography. I. Clarke, Graham, Published by Reaktion Books Ltd1-5 Midford Place, Tottenham Court Road,London W1P 9HH, UKFirst Published 1992, Introduction, page 3).
Clarke's book is a composition of essays by different contributors, and Clarke himself: the entire book revolves on the problematics of identity and the conflictual relationship between realism and interpretation, between hiding and revealing through several works of practitioners of different periods.
This is not an history of portraiting in photography, but all essays give an interesting view on portrait practices and kinds of portraiture through different periods and national traditions.